Dustily over the highway pipes the loud nor'-wester at morn,
Wind and the rising sun, and waving tussock and corn;
It brings to me days gone by when first in my ears it rang,
The wind is the voice of my home, and I think of the songs it sang
When, fresh from the desk and ledger, I crossed the long leagues of sea --
"The old worn world is gone and the new bright world is free."

The wide, wild pastures of old are fading and passing away,
All over the plain are the homes of the men who have come to stay --

Come, spur away,
   I have no patience for a longer stay,
   But must go down
   And leave the chargeable noise of this great town:
   I will the country see,
   Where old simplicity,
   Though hid in gray,
   Doth look more gay
   Than foppery in plush and scarlet clad.
   Farewell, you city wits, that are
   Almost at civil war--
'Tis time that I grow wise, when all the world grows mad.

At dusk, when lowlands where dark waters glide
Robe in gray mist, and through the greening hills
The hoot-owl calls his mate, and whippoorwills
Clamor from every copse and orchard-side,
I watched the red star rising in the East,
And while his fellows of the flaming sign
From prisoning daylight more and more released,
Lift their pale lamps, and, climbing higher, higher,
Out of their locks the waters of the Line
Shaking in clouds of phosphorescent fire,
Rose in the splendor of their curving flight,

(March 4, 1913)


Thine aid, O Muse, I consciously beseech;
I crave thy succour, ask for thine assistance
That men may cry: "Some little ode! A peach!"
O Muse, grant me the strength to go the distance!
For odes, I learn, are dithyrambs, and long;
Exalted feeling, dignity of theme
And complicated structure guide the song.
(All this from Webster's book of high esteem.)

Let complicated structures not becloud
My lucid lines, nor weight with overloading.
To Shelley, Keats, and Wordsworth and that crowd

After seeing at Boston the statue of Robert Gould Shaw, killed while storming Fort Wagner, July 18, 1863, at the head of the first enlisted negro regiment, the Fifty-fourth Massachusetts.


I

Before the solemn bronze Saint Gaudens made
To thrill the heedless passer's heart with awe,
And set here in the city's talk and trade
To the good memory of Robert Shaw,
This bright March morn I stand,
And hear the distant spring come up the land;
Knowing that what I hear is not unheard
Of this boy soldier and his negro band,

TO break the stillness of the hour
There is no sound, no voice, no stir;
Only the croak of frogs,—the whirr
Of crickets hidden in leaf and flower.

The clear-cut outlines of a spire
Spring from a mass of eucalypt
Sharply against the sky,—still tipped
With one last gleam of lingering fire.

So solemnly the shadows creep;
On dovelike wings Night flutters down;
Lights twinkle in the little town;
The valley lies in quiet sleep.

So comes the dark, so fades the light,

How happy you! who varied joys pursue;
And every hour presents you something new!
Plans, schemes, and models, all Palladio's art,
For six long months have gain'd upon your heart;
Of collonades, of corridors you talk,
The winding staircase and the cover'd walk;
You blend the orders with Vitruvian toil,
And raise with wond'rous joy the fancy'd pile:
But the dull workman's slow-performing hand
But coldly executes his lord's command.
With dirt and mortar soon you grow displeas'd,
Planting succeeds, and avenues are rais'd,

Karshish, the picker-up of learning's crumbs,
The not-incurious in God's handiwork
(This man's-flesh he hath admirably made,
Blown like a bubble, kneaded like a paste,
To coop up and keep down on earth a space
That puff of vapour from his mouth, man's soul)
--To Abib, all-sagacious in our art,
Breeder in me of what poor skill I boast,
Like me inquisitive how pricks and cracks
Befall the flesh through too much stress and strain,
Whereby the wily vapour fain would slip

Well, I've waited mighty patient while they all came rolling in,
Mister Lawson, Mister Dyson, and the others of their kin,
With their dreadful, dismal stories of the Overlander's camp,
How his fire is always smoky, and his boots are always damp;
And they paint it so terrific it would fill one's soul with gloom --
But you know they're fond of writing about "corpses" and "the tomb".
So, before they curse the bushland, they should let their fancy range,
And take something for their livers, and be cheerful for a change.

There is a city, upbuilt on the quays of the turbulent Arno,
Under Fiesole's heights,--thither are we to return?
There is a city that fringes the curve of the inflowing waters,
Under the perilous hill fringes the beautiful bay,--
Parthenope, do they call thee?--the Siren, Neapolis, seated
Under Vesevus's hill,--are we receding to thee?--
Sicily, Greece, will invite, and the Orient;--or are we turn to
England, which may after all be for its children the best?



I. Mary Trevellyn, at Lucerne, to Miss Roper, at Florence.